Fool For Love

If you’re anything like me and the death of Sam Shepard feels a little like a loss of part of yourself, run as fast as you can to Dark and Stormy’s production of Fool for Love. It’s a sort of balm – not so much because of the story which, in true Shepard fashion discomforts – but in how wonderfully this company produces this playwright’s work.

Eddie (James Rodriguez) and May (Sara Marsh) have met in a hotel room where May is staying. They haven’t seen each other years and the tension between them is palpable. May feels drawn to Eddie but also wants him to go. Both filled with jealously, Eddie at May’s waiting for Martin (Antonio Duke) to take her to the movies, May at Eddie for an affair with the rich “Countess,” the two push and pull at each other, starting passionate fires that burn them but also connect them. They’re clearly not supposed to be together, as the ghostly Old Man (Patrick Coyle) hints at throughout, but they can’t stay apart. This play hurtles forward like a nonstop ride you can’t get off and, while it seems like a love story, the play throws you into unexpected territory from which there is no return.

There is more than one fool for love in this story – there’s Eddie and May’s oil and water relationship, the old man who haunts what came before and whatever happens after, and even Martin in his rational well-meant kindness might seem naive, though he has no idea what he’s getting in to. This cast brilliantly shows all the different sides to their characters, from their flaws to their good intentions gone wrong, to pure bitterness and hate. I also appreciate that though the cast is small, it’s diverse and allows these actors to shine in parts that they may not often be given. (For more on this, see this article from the Star Tribune).

Dark and Stormy uses a small space and a simple set to great advantage. There’s something claustrophobic about this play and having a small theater space in the Grain Belt building helps build on that. The production feels fierce and intimate and allows for the tension of the piece to take hold and for the larger designs of the piece to speak more boldly (with lighting by Mary Shabatura, fight choreography by Annie Enneking, costumes by Lisa Jones, props by Katie Phillips, sound by Aaron Newman, and lasso expertise by Megan West). It’s a mistake to think this play is either simple or complicated – it’s both and neither with acting and design that may seem very simple but, like an iceberg, this is only the top layer and there’s far more underneath. This is the first Dark and Stormy production I’ve seen, but I’ve gotten the sense that, as small theater company, this is something they excel at.

Shepard has certain similar themes in his work – issues of masculinity, family drama and conflict, tension between being alone and being part of a community, cycles that endlessly repeat themselves from which there is no escape. Fool for Love is a great introduction to his work for someone who is unfamiliar with his plays and a wonderful celebration for those who know it well. Because Dark and Stormy is so devoted to Shepard’s style of storytelling and what his plays convey, this play is bright and dark, humorous and painful, gut-churning and empathetic. This play could easily stay in the melodramatic realm or become entirely bitter and cynical. All of these elements are present, but the show itself stays honest and sincere to its characters which in mind makes the best staging of Shepard – where all of these moments build on each other into a vivid array of emotions. As Ross Wetzsteon describes it, “His work is based on the spontaneous outpouring of feeling.” I’m so happy to have this production now not just as a way to celebrate Shepard, but also to celebrate what small theater companies in the Twin Cities can create.

Fool For Love is written by Sam Shepard and is directed by Mel Day. It is playing now through September 16th at Dark and Stormy’s space in the Grain Belt Building. Ticket and show information can be found on Dark and Stormy’s website.